In colonial France, transfixed by the countries that obey the other side of Gibraltar, coming dancers in search of freedom. Josephine gets role in La Revue Nègre; the same time delights audiences, and soon received an offer for a risk-fetišerski performance which would be a major star. Legendary La Danse Sauvage looks like this: star appearances completely naked, except for pink feather scarf. Partner brings to the stage and slowly lowered until it off the air describing geometric figures.
Then the audience ahće and panting before a performance of the “Black Venus” that used to dance every muscle, look, smile and stunt. All today’s stories about finding power in striptease and burlesque, in particular criticism of the idea that there is a power that can be found by downloading – underestimates the importance of the body. Know that the body is strong, the body which has hitherto been a source of discrimination, contempt, or humor, it can cause excitement and desire – whether it’s de facto power?
For Josephine Baker was definitely because the body has acquired social status, wealth and career of the world’s biggest stars. Already in 1927 the scene of the Théâtre des Champs-Elysées is set Le Folie du Jour, or, as it is easier to remember, “banana dance”. Nothing much, nothing new, just fiercely playing in a makeshift skirt lined banana. Here we can see the continuation of racist Žozefininog downloading tools for the sake of self-promotion. The skirt was her idea, and several times she paid off – this dance was the final step in the seduction Parisian audience.
She was at that time seemed cheerful former family Montparnasse, with all of Picasso, Hemingway and Fitzgerald aforementioned second – Picasso was already ten years before that found its way to Cubism by African masks and twisted, elongated silhouettes African idol – “goddess”. Josephine Baker was the epitome of the French African fantasies, but never had never set foot in Africa.